v 



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Problems in Furniture Making 



-n? 



By FRED. D. CRAWSHAW 



C.9. 



The Manual Arts Press 



Peoria, Illinois 



Problems in Furniture Making 



By Fred D. Crawshaw, B. S. 

Principal of Franklin School, Peoria, 111. Formerly In- 
structor in Manual Arts, Bradley Polytechnic Institute. 



The Manual Arts Press 



Peoria, Illinois 



LIBRARY of CONGRESS 
Two Copies Received 

OCT 26 1906 

i Copyrlfht Entry 
/f*-^, 2- f. '?o L 
CLASS A XXc.,No. 



COPY B. 



O 



v> 



Copyright, 

The Manual Arts Prkss, 
1900. 






FOREWORD 



THIS book is designed to assist students and amateurs in the construction of simple furniture. 
It is not a complete treatise on furniture construction, but merely a collection of working 
drawings to which are added a few suggestions on design, construction and methods of finishing. 
With few exceptions, all the problems in the book have been worked out by boys of the 
eighth grade, although in the "notes on problems" some have been marked, "A high school problem." 
The author has found by experience that many members of a class are capable of doing more complex 
work than the average member, and he hopes that such pupils will find this book especially helpful. 
While many of these problems are new, some are familiar because of their long use as school 
projects. These are included, with modifications, as it is difficult to replace them with better ones. 

The author is indebted to his many friends who have offered helpful suggestions in the design 
and selection of problems. Those marked "F. D. C." are in many cases original only in the sense 
that the general proportions and dimensions are of the author's selection. 

The users of this book will be materially assisted in inteipreting the problems by the perspective 
drawings which ware made by Edwin V. Lawrence of Bradley Polytechnic Institute. 

F. D. Ceawshaw. 



DESIGN 

The problems in this book are complete in design in 
order to give definite ideas of good proportion and har- 
mony of line, but it is hoped that these designs will be 
modified to suit individual tastes and conditions if there is 
a desire on the part of individual workers to do so. There- 
fore the following suggestions on design are given: 

There are three important considerations in designing 
a piece of furniture: 

1. General lines and proportio7is. The general char- 
acter of the lines will be largely dependent upon the lines 
in the pieces of furniture with which the one you are de- 
signing is to be associated; there should be a general 
harmony of line, a re-echo of line, in the room as well as 
in the single piece of furniture. The general proportions 
will be determined by the space your piece of furniture is 
to fill and its use. 

2. Construction. The shape of the piece of furniture 
will generally determine its construction. One will 
hardly make a mistake in the selection of joints to be v.sed, 
but there are many forms of some of the principal joints, 
such as the tenon-and-mortise joint, from which to select. 
Here, again, one must be governed by that fundamental 
law of design, viz.; there must be harmony. If the general 



design is a severe one, then the protruding form of joint 
will be appropriate as, for example,. the open or pinned 
tenon-and-mortise joint instead of the closed one, or the 
screwed construction instead of the nailed butt joint, etc. 

3. Decorative features. Simple carving, upholster- 
ing or textile or leather paneling is often the thing needed 
to give a piece completeness in appearance but ordinarily 
the good lines, good proportions and good finish are quite 
sufficient to fulfil all esthetic requirements. The simple 
modeling of the top or bottom of a post and the introduc- 
tion of broken or curved lines in some of the rails and 
stiles is sufficient decoration. 

In addition to these three considerations it is desired 
to call attention to two others dependent upon one or all 
of these three: 

(a) There will constantly arise as one works over a 
design the question of widths and lengths of certain parts. 
Some of these will be definite because of the use to which 
the piece of furniture will be put, but many will be in- 
definite. These indefinite dimensions may be determined 
with some degree of accuracy if one will carefully con- 
sider the three following laws governing arrangement. 

(1) Uniform spacing of similar parts is usually un- 
satisfactory. 



(2) Wider masses and narrower openings should be 
made near the bottom of a piece instead of near the top 
to give the feeling of stability. 

(3) The center of weight in a design should be 
directly below the center of gravity. 

(b) The satisfactory filling of space areas is often 
difficult. This is largely a problem in decoration, al- 
though it may be one in construction, when the strength 
of the piece of furniture is an important factor in the de- 
sign. 

The requirements of the individual problem must al- 
ways serve as the basis for conclusions but the three laws 
governing arrangement given above and the principle of 
re-echo or harmony of line will prove helpful guides. 

For a more detailed consideration of the principles 
of design in connection with problems in furniture con- 
struction reference is here made to an article by the 
author on "Furniture Design" in the April, 1906, number 
of the Manual Training Magazine. 



CONSTRUCTION 

It is taken- for granted that the users of this book 
have had some instruction in the use of tools. It is not 
proposed, therefore, in this chapter, to dictate in detail 
any method of using tools, but to give in the few follow- 
ing pages some specific suggestions for the cutting of cer- 
tain joints and the method of working up stock for certain 
classes of work, hoping they may be helpful. 

It is believed that the working drawings in this book 
show the method of construction, as a rule. It is sup- 
posed that the best method of construction is desired in 
any piece of furniture, and the author has given what he 
believes to be the best appropriate method in each indi- 
vidual case. It will be found that the butt joint is used 
in all pieces where lag screws, blue headed screws or 
wooden pins are called for. No comment is necessary on 
these joints except that all ends of butting pieces must be 
square, and similar pieces of absolutely equal length. It 
is supposed that in planing stock the workman will estab- 
lish a joint edge and face side from which all squaring 
will be done. 

The Tenon-and-Mortise Joint 
The "T-and-M" joint as the tenon-and-mortise joint 



is briefly designated, is the principal one used in furniture 
construction. The one ordinarily used is the closed T- 
and-M joint, or the one in which the tenon goes only part 
way into the mortised piece. Usually in furniture the tenon 
is held in place by gluing, and if the joint is made well the 
glue will be sufficient to keep the joint tight for many 
years. It is true that in faetory furniture these joints 
often loosen in a short time but it is due to careless work- 
manship and an insufficient amount of glue rather than to 
the kind of joint. 

Laying Out the Tenon-and-Mortise Joint 

For the benefit of those who may not be familiar with 
the process of laying out the tenon-and-mortise joint the 
following method is suggested. After all pieces are planed to 
the proper width and thickness and the face sides and joint 
edges marked, put together in a vice, with joint edges up, 
the tenon pieces that are to be cut the same length. From 
the center of one of these pieces (preferably the one nearest 
the workman) measure each way one-half the distance 
between the shoulders of tenons (it is supposed here that 
a tenon is to be cut on each end) and make a point with 
the end of knife blade. With the try square or carpen- 
ter's square and knife, square a line through these points 
across the joint edges. Now take pieces out of- vice and 
square around each end from the line already marked on 



joint edge, being careful to have the beam of the square al- 
ways on either/<r« side or joint edge. To measure thickness 
of tenon lay rule on joint edge of one board and mark 
points with end of knife blade for tenon thickness. Take 
the marking gauge and set its stop so that the marker 
touches one of these points when the stop is firmly press- 
ed against the face side. Before resetting gauge mark all 
pieces for this width. Now, set marking gauge for other 
point, again having gauge stop against face side, and pro- 
ceed as before. If the workman has access to a power 
saw all the work of cutting the tenons may be done on it, 
but it is believed that quite as accurate work maybe done 
with hand saws. Any trimming may be done with chisel 
and plane after the sawing has been completed. The 
mortise is laid out and constructed by a similar method. 

The Panel 

In most cabinet work, to avoid winding, warping, 
etc., wide spaces are filled with panels rather than single 
solid pieces of wood. Three kinds of panels are used:(i) 
the panel flush on both sides, (2) the panel flush on one 
side and inset on the other, (3) the panel inset on both 
sides. The first is used where strength alone is desired, 
the second where' strength and appearance are both 
necessary. In this case the inset comes on the outside 
of piece of furniture. The third also is used where ap- 



pearance, as well as strength, is essential. Here the in- 
set shows on both sides. 

The panel, if constructed by hand with a combina- 
tion plane, should first be carefully layed out with square 
and marking gauge. It is not necessary in this case, 
however, to gauge for both sides of groove or tongue as 
the plane will provide for proper widths of these. How- 
ever in laying out this joint the same care should.be 
taken as in laying out the T-and-M joint. Lengths should 
be measured from the center of the piece each way and all 
gauging and squaring should be done from face sides and 
joint edges. If a power saw is used for cutting this joint 
the face sides and joint edges should always be against 
saw guides. The work of gauging may be omitted, al- 
though, for the beginner, it is recommended. 

The Cabinet-Maker's Method of Getting Out Stock 

Where a number of pieces of wood are got out for 
one piece of furniture it is wise to be very systematic in 
the method of laying out and sawing up these pieces. The 
following method is suggested as good: From a complete 
working drawing of the piece of furniture to be made, 
make an itemized list of all pieces of wood, putting those 
together in the list that have equal widths and lengths, 
and making note of different thicknesses if there are any. 
Select the stock lumber and cut this up as economically 



as possible with reference to saving lumber and labor. 

The cabinet-maker's method of working consists in 
doing all similar operations on all pieces while tools and 
machines are set. If this happens to be the cutting of 
tenons or the boring of mortises be careful to complete 
this work on all pieces before beginning some other oper- 
ation. Just what should be done first and what second, 
and so on, it is difficult to say, but it is always safe to 
complete all ripping and cross-cutting in getting stock to 
the roughing dimensions before any hand dressing is 
done. It is likewise well to have all pieces dressed and 
finished to drawing dimensions before any joints are lay- 
ed out and cut. 

. One further point to note in the economy of labor is 
to keep pieces which are to be glued together to form 
doors, sides of cabinets, etc., in clamps as the work pro- 
gresses so that when all tool work is done the several 
parts of the piece of furniture are glued up and ready for 
the final assembling. 

A word about scraping and sandpapering may not be 
out of place here. The best suggestion one can give in 
this connection is to do this part of the work thoroughly. 
Whether each piece should be scraped and sandpapered 
before any gluing is done or not is an open question. 
Much time may often be saved by postponing most of 
this work until the piece of furniture is assembled. 



FINISHES 



The aim in finishing wood is two-fold: (i) To pre- 
serve the wood; (2) to produce an agreeable surface, 
color and texture. 

The old method of filling and varnishing a piece of 
furniture is still practical, but since the advent of the so- 
called craft furniture there has been a desire to produce 
an even-toned color, and staining has seemed to be the 
most practical method of doing this. t One. can purchase 
on the market innumerable prepared stains and of these 
mention is made of the following: Ad-el-lite, prepared by 
Adams and Eking of Chicago, is a one-coat finish designed 
to both stain and preserve the wood. Dark Brown Wood 
Tint, prepared by the Chicago Varnish Co., is a pleasing 
brown stain over which should be spread a coat of some 
preservative such as varnish or wax. Old Dutch Finish 
prepared by the Bridgeport Wood Finishing Co. is a pre- 
paration used as a finish and gives a dull wax-like appear- 
ance to wood. There are doubtless many others equally 
satisfactory but these happen to be the ones the author 
has found reliable and of good qualities for manual train- 
ing work. 

The great objection to any of these prepared finishes, 
however, is their expense. Below are given several 



methods of finishing wood which some experimental and 
practical experience has demonstrated to be good and, in 
most cases, comparatively inexpensive. Some of these are 
old and some are probably new. In giving them let it be 
understood that good results will be obtained only when 
the directions are explicitly followed; even then in some 
cases it may not be possible to get results that are uniform. 
The same stain on different pieces of the same variety of 
wood may give slightly different effects. 

Oil Finish 

Perhaps one of the oldest methods of finishing wood 
and one used today for some work is to fill the grain with 
two or three coats of boiling hot linseed oil, allowing about 
twenty-four hours to elapse between applying the coats. 
The oil serves as a preservative and at the same time, when 
rubbed often, will give a dark finish. The surface oil evap- 
orates soon, however, so that one cannot rely upon keep- 
ing a polish. This method of finishing wood is especially 
good for porch and yard furniture. 

Wax Finish 

The old method of finishing furniture by rubbing it 
with beeswax has become popular again. Prepared wax 
is fairly satisfactory but a wax may be made by cutting up 
beeswax and mixing with it about one-third its bulk of 



turpentine and heating to the boiling point. This should 
be done in a double boiler. The preparation may be al- 
lowed to cool, after which it should be rubbed on and then 
off with considerable pressure. A more satisfactory method 
is to apply the wax hot and rub with a soft cloth as it 
cools. To produce a fine lasting polish three or four coats 
should be applied, allowing from one to four weeks be- 
tween applications. A soft cloth should be used in dust- 
ing a piece of furniture finished by this process. 

Fuming 

A darkened color may be produced artificially on wood 
by placing it in a tight box and then setting into the box 
an open dish of concentrated ammonia. The woods most 
affected by the ammonia fumes are oak, principally quarter- 
ed oak, and chestnut. The depth of color increases with the 
time of exposure. A preparation known as "Fumine", 
manufactured by Walter K. Schmidt & Co., of Grand 
Rapids, Mich., will deepen the color if applied on the wood 
before it is placed in the fuming box. The fuming should 
be done after the piece is sandpapered ready for finishing. 

Filling and Varnishing 

For many years one of the most popular methods of 
finishing furniture was that of filling the grain of the wood 
with some paste, which might be colored to suit the taste, 



and which would harden, and then covering the entire 
piece with some fixative preparation such as varnish or 
shellac. There is probably no method of finishing fur- 
niture today that preserves the wood better than this one. 
After the article to be finished has been thoroughly scraped 
and sandpapered apply some good paste filler, thinned to 
consistancy of thick cream with boiled linseed oil and 
turpentine. Put on with brush or piece of cloth and 
allow it to stand about five minutes until it begins to dry. 
When this drying begins rub the filler off with a piece of 
burlap or a handful of shavings. Rub across the grain. 
After ten or twelve hours apply a coat of hard oil or var- 
nish with a soft brush and let this thoroughly harden. 
When hard, rub down with fine sandpaper to smooth the 
surface. Repeat the varnishing and sandpapering three 
or four times until a perfect surface is produced; then ap- 
ply another coat of varnish thined more than the former 
ones and, when hard, rub down with pumice stone and 
rubbing oil. To give life to the finish continue rubbing 
w : ith rotten stone and water applied with a piece of burlap 
drawn over a piece of sheet cork, or a piece of harness 
maker's felt. 

Staining. Filling and Varnishing 

The filling and varnishing method of finishing furni- 
ture produces a striking grain with open-giained woods. 



If it is desired to fill the grain to produce a smooth sur- 
face and yet not show a strong grain, the wood should be 
stained before ihe filler is applied. A stain of almost any 
desired color may be obtained by mixing dry colors 
ground in oil w : ith boiled linseed oil to make a paste and 
then thining with' turpentine. The analine dyes mixed 
with alcohol or water make satisfactory stains, also. After 
the piece of furniture has been thoroughly scraped and 
sandpapered it should be covered with water to raise the 
grain in order that the stain will not do this when it is 
put on. After the wood drys rub down with sandpaper 
and apply stain with cloth. When the stain is dry the 
piece may be filled and varnished as described under the 
head of "Filling and Varnishing." 

Log Wood Stain 

A rich purplish black will be produced on oak or 
chestnut by covering the wood with a solution of log- 
wood prepared as follows: Boil logwood gum, as it is sold 
by druggists, in water until a deep black liquid is obtain- 
ed. About four or five pieces of the gum as large as a 
walnut boiled in a gallon of water will give about the 
right color. While the mixture is still boiling hot add 
about a half tumbler of washing soda and stir until it is 
dissolved. When solution is cold apply with cloth until 
desired color is obtained. Finish with wax, shellac or 
varnish. 



Japalac 

A very desirable black may be obtained on almost 
any wood by thinning Dead Black Japalac with turpen- 
tine and applying as stain, rubbing off rapidly as it is ap- 
plied. This stain does not need to be covered with a 
preservative. 

Old Dutch Stain 

This is not the prepared finish sold under the same 
name but a home-made mixture which gives to oak the 
appearance of great age and similar to the old pieces 
of German make so much admired. Mix two parts of 
drop black to one of lamp black with turpentine until a 
liquid that will just flow- is obtained. Add to this enough 
burnt umber to kill the "dirty" black. A very little of the 
umber will do this. Apply to oak or chestnut after wood 
has been wet with water and rubbed down with sand- 
paper. Rub the stain in and off evenly. When dry, cover 
with a very thin coat of shellac to fix stain, and finish 
with wax. 

Bichromate of Potash Stain 

This method of finishing wood is spoken of a num- 
ber of times in this book because it has been successfully 
handled by the author and is an easy stain to apply. It 
gives a brick brown color and when rubbed with an oiled 



10 



cloth will keep a dull lustre for a long time. Make a 
strong solution of powdered bichromate of potash in hot 
water. Prepare wood (oak takes this stain better than 
any other wood) as before described and apply stain with 
cloth. Let stained piece stand over night.- The yellow- 
ish brown crystaline surface which will be found in the 
morning will turn to the brick brown when rubbed with 
linseed oil. No finish is necessary over this stain. 

Asphaltum Varnish Stain. 

A rich chocolate brown may be produced on almost 
any open-grained or light-colored wood by thinning as- 
phaltum varnish with turpentine and applying with cloth, 
rubbing rapidly to avoid sticking. If the asphaltum var- 
nish is made very thin it may be applied with brush -and 
allowed to harden as any varnish will. Unless the varnish 
is put on rather thick a covering coat of shellac or finish- 
ing varnish should be added. 

Acetate of Iron Stain 

A stain that is easily made and applied with very 
good results on butternut and chestnut is one which may 
be made by soaking iron filings in vinegar. The filings or 
chips should be from cast iron. Soak them in vinegar, 
stirring occasionally, for a week. Apply in the same 
manner as other stains. Butternut stained with the acet- 



ate of iron and rubbed with an oiled cloth will turn very 
dark — almost black. Chestnut will be made a soft yellow- 
ish brown. A wax covering will give life and durability 
to this stain. Chestnut finished with this stain and after- 
wards fumed will turn a deeper brown with the character- 
istic velvet appearance that fuming always gives. 

Iron Sulphate Stain 

To give a grey stain to oak, boil in a solution of iron 
sulphate made by dissolving one ounce of chemically 
pure sulphate of iron crystals for each pound of wood in 
enough water to entirely cover the wood. Separate the 
strips of wood with pieces of glass and weight the wood 
down to insure its being kept under water. About one 
drachm of sulphuric acid should be added to every gallon 
of the solution to keep the iron in the form of a sulphate. 
When dry rub thoroughly with a dry cloth. 

Silver Nitrate Stain 

A weak solution of silver nitrate on chestnut which 
is afterwards fumed with the ammonia will give a dark 
brown. Wax makes a good finish for this stain. 

Dry Color Stains 

After experimenting for a number of years with wood 
finishes in manual training woodworking classes, the 



author has come to the conclusion that, aside from the 
few finishes herein described and some of the stains to be 
found on the market, one can get about as satisfactory 
results by mixing the dry colors (obtainable at painter's 
supply houses) with boiled linseed oil and turpentine, as 
in any other way. A little experimenting will determine the 



colors and the quantity of each, to mix together to pro- 
duce a desired shade. After the mixture of dry colors is 
made, add enough boiled linseed oil to make paste and 
thin with turpentine. Apply stain with cloth and finish 
with varnish or shellac. Rub the fixative preparation 
. down as described under, "Filling and Varishing." 



12 



NOTES ON PROBLEMS 



I — Taboret. 

A seventh or eighth grade problem. This is a very simple yet attractive 
piece of furniture, and may be made by any boy who has had a little experience 
with tools. The design may be varied without injury by widening the legs some- 
what and using thinner lumber for them. The author believes that round- 
headed blued screws will make it a stronger piece of furniture than wooden pins. In 
order to guard against splintering where the recesses are cut for the legs a hard 
wood or a close-grained soft wood should be used. If made of hard wood, maple 
will prove to be a good one, although oak may be used. If oak is used fume and 
finish with wax. If butternut is used and a dark finish is wanted, use the acetate 
of iron. 



2— Plant Stand. 

An eighth grade or high school problem. This may be made of pine, poplar, 
or, if open-grained wood is desired, chestnut or oak. The piece is suitable for 
porch or inside of house. The decoration on middle slat is suggestive only. 
Simple veining or relief carving may be used, or the more difficult problem of in- 
laying may be introduced. 





3 — Taboret. 

An eighth grade problem; Pine with a strong grain if finished with asphal- 
tum varnish thinned with turpentine and rubbed on to the wood while fresh, will 
make this an attractive and serviceable piece of porch furniture. It is also suit- 
able for inside use. A dark green stain on poplar will make of this a beautiful 
library or study jardiniere stand. "A dead varnish known as 'Deadlac' is very 
appropriate over the dark green color. 

4 — Woven Top Stool. 

An eighth grade problem. This may be used as a low seat or a foot stool. 
Make stool of some close-grained soft wood or of oak. In the construction, cut 
the tenon and mortise joints before tapering the legs. Wind flat pith cane over 
and around opposite rails. When finishing, stain the entire piece with some good 
prepared stain such as ad-el-ite, a preparation that does not need a covering of 
varnish. If oak is used a soft greyish-brown tone may be obtained by fuming 
the entire stool. 

5 — Woven Top Stool. 

An eighth grade problem. Pine or chestnut will be suitable if this project is 
undertaken by grade pupils. Oak may be used by high school pupils or those 
capable of working in hard wood. The problem of framing is a good one here 
and the weav'.ng of the flat pith cane offers a chance to use some originality in 
the pattern design. Care must be taken not to get the material used for the 
weaving too tight at first or the last strands will be very difficult to draw through. 
A long needle made of thin band iron is suitable for the weaving. The edges of 
frame should be rounded slightly to prevent the cane from breaking. 



6 — Leather Top Stool. 

An eighth grade problem in ordinary framing and upholstery. For the eighth 
grade pupil chestnut makes a very satisfactory substitute for oak and is much 
more easily worked than oak. A rich dull brown will be obtained by finishing 
with a turpentine preparation of raw umber, first made into a thin paste with 
boiled linseed oil. Wax and apply one coat of very thin shellac to avoid the 
necessity of rubbing down with sandpaper. 

7 — Footstool. 

An eighth grade problem. This is a simple problem in tenon-and-mortise 
framing. Oak or hard pine are recommended as good woods for this project. 
If chestnut is used the front corner posts should not be severely modeled. The 
upholstering may be done with leather or its substitute, pantasote. This may 
be obtained in browns and a dark green. Pad top slightly with excelsior. This 
is an excellent piece for fuming. 

8 — Leather Top Stool. 

An eighth grade problem. Model top out of a two-inch pine plank after 
gluing two pieces together. The amount to be scooped out is given in drawing 
as one-half an inch; it may well be a little more than this. The legs and rails 
should be made of some wood that will not easily splinter in modeling the sharp 
corners at the bottom of the legs. Butternut or gum will be satisfactory of the 
soft woods and oak will probably be the most suitable of the hard woods. Turn- 
ed legs make an attractive piece. 




u=- 




9 Hall Umbrella Rack. 

An eighth grade problem. Chestnut has been used with considerable satis- 
faction and success in the construction of this project. As indicated in the article 
by the author in the Manual Training Magazine for April, 1906, there is a chance 
for study in filling in the sides to make a good panel scheme. It is believed that 
the horizontal strips alone may be used with much satisfaction if they are placed 
farther apart near the bottom than those near the top, and not more than four 
are used on a side. An ordinary shallow tin pan colored by covering with lard 
oil and heating repeatedly in the fire will make a good bottom. This is a good 
piece for fuming. 



10— Hat and Umbrella Rack. 

Preferably a high school problem, although eighth grade boys of unusual 
ability may work it out. If made of soft pine the corner posts may be cut from 
2 x 4 in. stock and the center post made from two 2 x 4 in. pieces glued with flat 
sides together. Soft pine with a good grain finished with a dark stain will make 
this a very appropriate hall piece. In gluing up, the diagonal cross pieces should 
be glued into center post before the frame work is glued together; then as the last 
gluing on the framework is done the center post, with these projecting pieces, will 
be set inside and the ends slipped into the grooves (where the corners of posts 
have been sawed out to receive them) and bradded. 



II — Library Book Shelves 

An eighth grade or high school problem in gluing and pinning. In gluing 
pieces together for shelves and sides dowel pins should be used, especially for the 
sides. Care must be taken when pins are fitted to have the inside of hole for pin 
cut away enough to allow the inside edge of pin to draw against the upright piece. 
This will make the shelves firm and substantial. Finish by filling wood — chestnut 
or oak — and rubbing down two coats of varnish. Hard pine stained will also 
make an appropriate piece. 



12— Vestibule Umbrella Rack. 

A high school problem. Make of oak and finish dark. As this is an out- 
side piece it may well be finished by applying two or three coats of hot boiled lin- 
seed oil. The use of shellac or varnish will not be very practical. The corner 
boards are not necessary for strength. Inasmuch as they are decorative only, 
some other plan of space decoration may be used. A combination of horizontal 
and vertical strips is suggested, as in the hall umbrella rack. 





13 — Magazine Holder. 

An eighth grade or high school problem. Fair problems in gluing (for shelf 
width) screwing, tenon-and-mortise construction and modeling. The open mor- 
tises at the top should be cut from both sides of the rail to insure a good 
joint. Some close-grained or hard wood should be used for this piece to make 
of it a strong piece of furnirure. 



14 — Magazine Holder. 

An eighth grade or high school problem. Butternut finished with acetate of 
iron made by soaking iron filings in vinegar will make a pleasing piece of furni- 
ture. A variety of designs is possible in this project but the one given has proven 
a popular one in the authors classes. If the corner boards are given a straight 
taper instead of a compound curve as shown, good results will be obtained. In 
this case the rails at the top and bottom may very appropriately be changed to 
straight-line modeling. 



15 — Wall Book-Shelf and Magazine Rack. 

A high school problem. The design may be modified and possibly improved by 
allowing the boards at the ends of the back to taper toward the bottom on the out- 
side, making the width about three and a half inches. The most difficult work 
comes in making the back which is an ordinary problem in panel framing. A 
dilute logwood stain on chestnut or oak will give black. 



16— Plate-Rack. 

An eighth grade or high school problem. This is a modification of the 
ordinary form of plate-rack. It harmonizes in its design with the present-day 
severe style of dining-room furniture. Make of oak or chestnut and finish with 
the bichromate of potash stain. 



17 — Plate and Tumbler Rack. 

An eighth grade or high school problem of severe design but appropriate in 
a dining room furnished with so called "craft furniture." A variation of the de. 
sign given may be made by paneling the lower opening. The piece should be 
finished dark to give the best general effect. If hard pine or oak is used some 
prepared dark stain will give a good finish. A very pleasing rich yellow brown is 
obtained on oak by using the bichromate of potash stain. If a deeper brown is 
wanted, rub the bichromate stain with boiled oil and burnt umber; apply wax or 
a thin coat of shellac. 





18- Chafing-Dish or Tea Table. 

A high school problem. Make of oak, preferably, and finish in brown. The 
doors may be made solid if well seasoned wood is used. The table will be quite 
as satisfactory in appearance if the shelf is omitted. The doors when let down 
into the horizontal position serve as shelves for dishes. The ends of cross-bar 
supports for shelf are recessed into inside corner of legs and put into position as 
table is glued up. 



19— Three-Panel Screen. 

Poplar or oak will be suitable for this piece. In the. construction of this 
project different members of the same class may be put to work on the three dif- 
ferent panels. If burlap or leather is used for the upper panels it may be fastened 
on a pine frame to set in flush with rails and stiles, or the marerial may be fasten- 
ed on the outside with large-headed tacks. An opportunity is here given for 
some originality in design as these upper panels may be made of embossed or 
tooled leather, or stensiled burlap. If the wood is oak. some brown or dark green 
finish will be good. 



20 



20— Wall Cabinet. 

An eighth grade or high school problem, and an attractive library, study or 
dining-room hanging piece. The colored glass for doors is in one piece for 
each door with copper strips (preferably burnished) set in to form part of the 
decoration, rather than an essential feature in the construction. The project may 
be simplified by making the back solid, using narrow matched lumber, or by glu- 
ing pieces together instead of paneling as suggested in working drawing. Finish 
dark to contrast with color in glass and with the bright copper strips. 



21 — Bookcase. 

A high school problem. We have introduced in this project the problem of 
glass paneling and leaded glass work. The back is made in two panels similar to 
the doors without the middle one-inch stiles. The ends should be glued up first 
and the case set up as described in notes on music cabinet. 





22 — Sewing Cabinet. 

A high school problem in quartered oak. Plain oak or chestnut will be some- 
what less attractive in appearance. The front and back panels are fastened in by 
first boring a five-eighth hole part way through from the inside (as shown by dotted 
circles in working drawing) and then driving one-inch screws from these holes 
into corner posts. This makes a very practical problem in paneling and general 
cabinet-making. Finish by filling and varnishing if a strong grain is desired; 
otherwise stain, or stain and fill, and apply wax or varnish. 



23 — Music Cabinet. 

A high school problem in cabinet-making. Make this piece of butternut, 
black walnut, mahogany or maple. Finish with varnish and rub down three or 
four coats to give a dull or egg-shell finish. In putting cabinet together glue sides 
up first; lay one side on floor with inside of side up and set back panel and shelves 
in position. Now place second side in position and fasten with glue. 



22 



24 — Library Chair. 

A high school problem. This is a novel modificiation of the Morris chair in 
design. The seat and back should be covered with natnral leather and fastened 
with large brass or bronze tacks. The leather of the seat should not be stretched 
very tight at first. A finish similar to the one recommended in the rocking chair 
is advised here, except that filler and stain may be brown to harmonize in color 
with the leather. 



25— Hall Seat. 

An eighth grade or high school problem. Make of hard pine, poplar or chest- 
nut unless oak is desired. If poplar or pine is used some good stain that does 
not need a fixative preparation over it will answer all requirements. The design 
may be varied by using slats on ends and back instead of the two back boards as 
shown. If the seat is upholstered with leather or its imitiation, pantasote, allow- 
ing a border of the wooden seat about two inches wide to show all around the 
upholstery, the piece will be somewhat improved in appearance. 




23 




26 — Desk Chair. 

A high school problem. This makes a simple chair and one that brings in 
good framing problems. Hard pine or oak will be most serviceable. If a softer 
wood than either of these is desired, poplar may be used. In case an open- 
grained wood is used it should be filled. If the entire wood is to be colored, 
stain first and fill afterward. The natural wear on a desk chair calls for a finish 
which will preserve the stain; varnish or shellac should be the covering material. 

27— Hall Chair. 

A high school problem. This is a suitable project for a boy who will take 
pride in matching the grain of lumber in gluing two pieces together for seat and 
back. Have the joint come in the center of each of these parts. A very satis- 
factory way of producing a striking effect is to resaw a piece and double the two 
parts back as one turns the leaves of a book, and then glue the edges together. 
Cypress, sycamore or hedge will be suitable woods. Finish in natural color with 
dull varnish or shellac. 

28 — Rocking Chair. 

A high school problem. It is advised that this problem be undertaken only 
by high school pupils of considerable ability. The variety of angles introduced 
makes the cutting of joints difficult, although not too hard for some pupils of high 
school grade. The back cushion is left off in the sketch to show the slatted back. 
The cushions may be made by pupils. Pantasote may be the outside covering. 
Make a canvas case first and fill with "Kapok", a material shipped from India and 
not as expensive as curled hair. It is suggested that the bottom of corner posts 
need not be set into rockers, as shown in working drawing, as one will not rock 
back of the back posts. Stain dark and give the "Stain, Filler and Varnish 
Finish." 



29— Library Table with Shelves. 

A high school problem. Make of chestnut or oak. Glue up the four sets of 
corner posts first. Second, glue in shelves and panels which form the backs for 
shelves, and, last, fit on top and foot board, being careful to have legs plumb and 
ends of table parallel in order that drawer may slide both ways. Finish in the 
"Old Dutch" style. 



30 Library Table. 

A high school problem. This is a very simple table b\it a very good one. 
Oak should be used although chestnut will give a good finish if a soft wood is 
desired. In either case, unless one has the facilities for fuming large pieces of 
work, the wood should be wet after all parts are glued, sandpapered and scraped. 
When dry, sandpaper again; then stain and fill before the wax, shellac or varnish 
is used. The bichromate of potash finish will be very attractive on this piece. 
The drawer pull is made out of one-eighth inch sheet brass or copper. 




31— Writing Desk. 

This is probably the most difficult problem in cabinet-making in this book 
but the desk may be satisfactorily constructed by high school pupils of unusual 
ability. The problem of paneling in front and back (the same in each) is a good 
test of technical skill. The lower part of the front, when lowered to a horizontal 
position, catches under the middle shelf and forms the writing table. The back 
and top are fastened in position by method described in the notes on the sewing 
cabinet. The bichromate of potash finish or some dark stain similai to Ad-el-lite 
will be suitable. If the stain is one that is on the wood instead of in it a cover- 
ing of shellac or varnish should be used. 




26 



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Problems in Woodworking 

By M. W. MURRAY, Supervisor of Manual Training, Springfield, Mais. 

This book consiBts of forty plates bound in heavy cover paper with braes fasteners. These plates 
are accompanied by six pages of descriptive text. 

THE PLATES— Each plate is a working drawing or problem in benchwork that has been sue- ' 
cessfully worked out by boys in one of the grades from seven to nine inclusive. Many of the problems 
can be worked out in various ways, according to the individual ability, interest and taste of the pupil. 
The paper used for the plates is heavy, tough, gray cover paper, suitable for shop use. The drafts- 
manship is excellent. The size of each is 6x934 inches. 

USE OF THE PLATES— The plates can be used as drawings or blue prints, being given out by 
the teacher as needed, or a copy of the book can be kept at each bench. 

COST— The price of the book is 75 cents. Protecting covers made of strawboard covered with 
lineD, 20 cents extra. A discount is allowed when ten or more copies are sent to the same address. 
Send for descriptive cirrular and sample plate. 

Published by 

THE MANUAL ARTS PRESS, Peoria, 111. 



Manual Training Magazine. 



An illustrated, quarterly publication devoted to the 
interests of the Manual Arts in Education. Subscrip- 
tion price, $1.00 a year; single copies, 30 cents. 

THE MANUAL ARTS PRESS, 

PEORIA, ILLINOIS. 



